Konstnärlig forskning = poetik? En studie av de första doktorsavhandlingarna i litterär gestaltning i relation till poetiken som litterär tradition och modern genre
Sammanfattning: In an article published in the Swedish Research Council’s Artistic Research Yearbook from 2004, the author andliterary scholar Gunnar D Hansson indicated that artistic research in literary composition is comparable to or evensynonymous with poetics. In light of such a comparison, this essay seeks to examine how the first four Swedishdissertations in literary composition can be said to practice poetics. Poetics, understood as both a discipline and agenre, has been subject to literary scientific research in Denmark in ways that have not occurred either in Swedenor internationally. A recent dissertation, published by the Danish literary scholar Michael Kallesøe Schmidt,extensively discusses modern, self-reflexive poetological texts by Danish authors with the ambition of coining anew genre: “authors’ poetics”. Since the literary dissertations are situated on the border between composition andreflection in ways similar to the Danish authors’ poetics, this essay examines the dissertations in relation toSchmidt’s genre-defining criteria, as well as the broader discussions surrounding poetics in both a Danish and aSwedish context. Just as for the younger, modern, poetological texts that Schmidt addresses, the dissertations aredefinable by their rhetorical characteristics – i.e., their self-reflexive speech act – their oscillation between artisticpractice and theoretical reflection, their intertextual relations which transcend borders between aesthetic epochsand contexts, and their hybrid compositions. The dissertations also share semantic characteristics with the authors’poetics by discussing similar poetological questions originating from a romantic and/or modernist aestheticdiscourse. But unlike the authors’ poetics, the dissertations are academic products, and they share connectionswith disciplinary poetics and traditional academic writings that poetological texts situated outside the institutionalrealm of artistic research do not. I therefore argue that the first four literary dissertations can be said to create anew poetological spectrum, describes as a disciplinary form of authors’ poetics.
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